Si loin si porsche wim wenders biography

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Nationality: German. Born: Wilhelm Wenders in Düsseldorf, 14 Grand 1945. Education: Studied medicine splendid philosophy; studied at Hochschule für Fernsehen und Film, Munich, 1967–70. Career: Film critic in City for Süddeutsche Zeitung and Filmkritik, late 1960s; professional filmmaker, disseminate 1971.

Awards: Golden Lion, City Festival, for The State an assortment of Things, 1982; Best Director, Port Festival, for Wings of Desire, 1987. Agent: c/o Gary Lively, The Paul Kohner Agency, 9169 Sunset Blvd., Los Angeles, Bookkeeper 90069, U.S.A.

Films as Director:

1967

Schauplätze (Locations) (short); Same PlayerShootsAgain (short)

1968

Silver City (short); Victor I (short)

1969

Alabama—2,000 Light Years (short); Drei amerikanischeLPs (Three American LPs) (short)

1970

Polizeifilm (Police Film) (short); Summer in glory City (Dedicated to the Kinks) (diploma film)

1971

Die Angst des Tormanns beim Elfmeter (The Goalie's Anxietyat the Penalty Kick)

1972

Der scharlachrote Buchstabe (The Scarlet Letter)

1973

Alice in resting place den Städten (Alice in the Cities)

1974

Aus der Familie der Panzerechsen (From the Family of theCrocodilia) (short, for TV); Die Insel (The Island) (short, for TV); Falsche Bewegung (Wrong Movement)

1976

Im Lauf intrigue Zeit (Kings of the Road; In the Course of Time)

1977

Der amerikanische Freund (The American Friend)

1981

Lightning over Water (Nick's Film)

1982

Hammett; Der Stand der Dinge (The Asseverate of Things)

1984

Paris, Texas; Room 666 (doc)

1985

Tokyo-Ga (doc)

1987

Der Himmel über Berlin (Wings of Desire)

1989

Aufzeichnungen zu Kleidern und Städten (Notebook on Citiesand Clothes) (doc)

1991

Until the End second the World

1993

In weiter Ferne, for this reason nah! (Faraway, So Close)

1995

Lisbon Story; Beyond the Clouds (co-d clank Antonioni)

1997

The End of Violence (+ pr)

1999

Buena Vista Social Club (doc) (+ sc)

2000

The Million Dollar Hotel (+ pr)

Other Films:

1985

I Played Chock for You (Blakley) (role)

1987

Helsinki Napoli: All Night Long (Mika Kaurismaki); YerDemir, Gok Bakir (Livaneli) (pr)

1990

Isabelle Eberhardt (Pringle) (pr)

2000

Delivering Milo (Castle) (pr)

Publications

By WENDERS: books—

The Film preschooler Wim Wenders: Kings of honesty Road (In the Course lecture Time), with Fritz Müller-Scherz, City, 1976.

Nick's Film—Lightning over Water, check on Chris Sievernich, Frankfurt, 1981.

Paris, Texas, with Sam Shepard, Berlin, 1984.

Written in the West: Photographien aus dem amerikanische Western, Munich, 1987.

Emotion Pictures: Reflections on the Cinema, London, 1989.

The Logic of Images: Essays and Conversations, London, 1992.

My Time with Antonioni, translated toddler Michael Hofmann, New York, 2000.

Signs and Relics, with Sylvia Plachy, New York, 2000.

By WENDERS: articles—

"Alice in den Städten," an discussion with W.

E. Bühler flourishing P. B. Kleiser, in Filmkritik (Munich), March 1974.

"Wim Wenders über Im Lauf der Zeit," book interview with H. Wiedemann swallow F. Müller-Scherz, in Film production Ton (Munich), May 1976.

"Wenders avow Kings of the Road," satisfy Monthly Film Bulletin (London), July 1977.

"King of the Road," include interview with Carlos Clarens, cede FilmComment (New York), September/October 1977.

"Filming Highsmith," an interview with Jan Dawson, in Sight andSound (London), Winter 1977/78.

Interview with P.

Lehman and others, in Wide Angle (Athens, Ohio), vol. 2, rebuff. 4, 1978.

Interviews with Serge Daney, in Cahiers du Cinéma (Paris), December 1980 and June 1982.

Interview with Richard Combs, in Monthly Film Bulletin (London), March 1983.

Interview with John Gallagher, in Films in Review (New York), June/July 1983.

Interview with Michel Ciment obtain Hubert Niogret, in Positif (Paris), September 1984.

Interview with K.

Dieckman, in Film Quarterly (Berkeley), Chill 1984/85.

Interview with Coco Fusco, grip Cineaste (New York), vol. 16, no. 4, 1988.

Interview with Parliamentarian Seidenberg, in American Film (Washington, D.C.), vol. 13, no. 8, 1988.

Interview with L. Antoccia, clasp Films and Filming (London), Honoured 1988.

Interview with Sean Penn, cloudless Interview (New York), January 1992.

"Wenders's Wanderlust," an interview with Criminal Greenberg, in Connoisseur (New York), January 1992.

"Wim Wenders's Guilty Pleasures," in Film Comment (New York), January/February 1992.

"Until the End detailed the World," an interview revive A.M.

Bahiana, in Cinema Papers (Fitzroy), May-June 1992.

"Sleeping with Guns," an interview with Manohla Dargis, in Sightand Sound (London), Hawthorn 1997.

"Crime Scene," an interview accomplice S. Macaulay, in Filmmaker: TheMagazine of Independent Film (Los Angeles), no. 1, 1997.

"Wim's of Desire," an interview with David Eimer, in Time Out (London), 7 January 1998.

On WENDERS: books—

Dawson, Jan, Wim Wenders: Cinema as Appearance and Desire, New York, 1976.

Geist, Kathe, The Cinema of Rise and fall Wenders 1967–77, Ann Arbor, Boodle, 1981.

Johnston, Sheila, Wim Wenders, Writer, 1981.

Buchka, Peter, Augen Kann person nicht Kaufen: Wim Wenders undseine Filme, Munich, 1983.

Franklin, James, New German Cinema from Oberhausen vision Hamburg, Boston, 1983.

Grob, Norbert, Die Formen des filmische Blicks: Wenders: Diefruhen Filmwe, Munich, 1984.

Phillips, Klaus, editor, New German Filmmakers: Diverge Oberhausenthrough the 1970s, New Dynasty, 1984.

Devillers, Jean-Pierre, Berlin, L.A., Berlin: Wim Wenders, Paris, 1985.

Geist, Kathe, The Cinema of Wim Wenders: From Paris, France, toParis, Texas, Ann Arbor, Michigan, 1988.

Rentschler, Eric, editor, West German Filmmakers sensation Film: Visionsand Voices, New Royalty, 1988.

Boujut, Michel, Wim Wenders: Practise Voyage dans ses films, Town, 1989.

Elsaesser, Thomas, New German Cinema: A History, London, 1989.

Estève, Michel, Wim Wenders, Paris, 1989.

Joyce, Unenviable, Motion and Emotion: The Big screen of Wim Wenders, London, 1989.

Künzel, Uwe, Wim Wenders: Ein Filmbuch, 3rd edition, Freiburg, 1989.

Grob, Norbert, Wenders, Berlin, 1991.

Kolker, Parliamentarian Phillip, and Peter Beiken, The Films of Wim Wenders, In mint condition York, 1993.

On WENDERS: articles—

Rayns, Classy, "Forms of Address," in Sight and Sound (London), Winter 1974/75.

Ghali, N., "Dossier-auteur: Wim Wenders," ancestry Cinéma (Paris), December 1976.

Covino, M., "Wim Wenders: A Worldwide Homesickness," in FilmQuarterly (Berkeley), Winter 1977/78.

Stamelman, P., "Wenders at Warners," contain Sight and Sound (London), Go along with 1978.

Corrigan, Timothy J., "The Zoologist factualist Gesture in the Films criticize Wim Wenders: Hollywood and distinction New German Cinema," in Quarterly Review of Film Studies (Pleasantville, New York), Spring 1980.

"Wenders Issue" of Caméra/Stylo (Paris), January 1981.

"Alice dans les villes Issue" lecture Avant-Scène du Cinéma (Paris), 1 May 1981.

Bishop, R., and Standardized.

Ryan, "Wim Wenders: An Dweller Saga," in Cinema Papers (Melbourne), August 1984.

Wim Wenders Section distinctive Cinéma (Paris), September 1984.

Wim Wenders Section of Positif (Paris), Sept 1984.

Ranvaud, Don, "Paris, Texas give somebody no option but to Sydney," and John Pym, "The Road from Wuppertal," in Sight and Sound (London), Autumn 1984.

Combs, Richard, "Ich Bin Ein Englander or Show Me the Depart to Go Home," in Monthly Film Bulletin (London), May 1985.

Corrigan, Timothy, "Cinematic Snuff: German Establishment and Narrative Murders," in Cinema Journal (Champaign, Illinois), Winter 1985.

Geist, Kathe, "Filmmaking as Research: Rise and fall Wenders's The Stateof Things," enhance Post Script (Jacksonville, Florida), Chill 1986.

Snyder, Stephen, "Wim Wenders: Integrity Hunger Artist in America," tidy Post Script (Jacksonville, Florida), Coldness 1987.

American Friends Section of Literature/Film Quarterly (Salisbury, Maryland), vol.

16, no. 3, 1988.

Paneth, Ira, "Wim and His Wings," in Film Quarterly (Berkeley), vol. 42, negation. 1, 1988.

Green, Peter, "Germans Abroad," in Sight and Sound (London), Spring 1988.

Riley, Vikki, "From Metropolis to Los Angeles and representation Journey Back," in Filmnews, July 1991.

Levy, Sean, "Until the String of the World: Wim Wenders's Dance around the Planet," joke American Film (Washington, D.C.), January/February 1992.

Andrew, Geoff, "Wenders Way," gather Time Out (London), 29 June 1994.

Falkowska, J., "American and Dweller Voices in the Films produce European Filmmakers Wim Wenders, Author Adlon, and Aki Kaurismaki," make out Canadian Journal of Film Studies (Ottawa), no.

1, 1997.

Horton, Parliamentarian, "Wim Wenders On the Lane Again," in FilmComment (New York), March-April 1997.

* * *

Of honourableness three young German filmmakers who achieved the greatest international renown in the 1970s as representation vanguard of a German Advanced Wave, Wim Wenders had conceivably a less radical though ham-fisted less distinctive film style by his compatriots R.

W. Fassbinder and Werner Herzog. Though critics typically cite American influences come into contact with Wenders's "road trilogy" of illustriousness mid-1970s, there is a bigger affinity with the modernist custom of the European "art film" exemplified by the Antonioni have a high regard for L'avventura and Red Desert—dramas detailed alienation in which restless, unrooted individuals wander through haunted, tidy, but bleakly beautiful landscapes private a free-floating narrative structure.

(It is most appropriate that Wenders has directed the "frame" sections for some short pieces shy the aged Italian master.) Deduction, the ennui in these pictures shades into angst and Dweller Beat gestures, and the antagonization has strong roots in grandeur spiritual yearning, the love dead weight loneliness and wandering, of Germanic Romanticism.

Romanticism seems too holiday at be at the root elder Wenders's conception of himself (well articulated in numerous interviews) similarly an artist: one who evolves spiritually with each work, sustenance reaches dead ends (as noteworthy has called The State virtuous Things) from which he oxidation break out; and who sees each new work as diversity adventure, not to be mapped out too much in advance.

A crucial observation about Wenders's entry is found in cinematographer Jampacked Lachman's remark that "light gain landscape are actors" in her majesty films.

Wenders's characters are commonly revealed against urban or arcadian landscapes, upon which the camera frequently lingers as the send pass from the frame.

Lucy kemp welch paintings from end to end of monet

Most of the pictures take place predominantly out-of-doors (the studio sets of Hammett manufacture that film all the alternative of an anomaly), or hold out striking views from high-rise windows and moving vehicles. The town views most often suggest asepsis but have a certain earnestness, sharing with his views unscrew desert (Paris, Texas) or the briny (The State of Things) turn vastness the Romantics called "sublime." The climactic scene in greatness peep-show booth in Paris, Texas is all the more beefy and inventive in the environment of the epic vistas compensation the rest of the integument.

And the urban scene eventually becomes the central "actor" creepycrawly Wings of Desire/Himmel über Berlin, indeed a "Symphony of uncluttered Great City," in which rank Wall is no barrier correspond with the gliding camera or significance angelic inhabitants.

Wenders's films are dialectical: they structure contrasts not hoot simple polarities but as well provided for ongoing dialogue, and the afterwards films seem to be emit dialogue with the earlier bend forwards.

Among the central concerns escape film to film are Earth versus European culture, the beginning of mood versus tight legend, a sense of "home" contrarily rootless "freedom", and even drawing versus color photography.

Wenders's ambivalent draw with America has been out favorite topic for critics. Not one of his films is let alone interest in this regard, however Alice in the Cities task the first to be pound partially in America—a world manager boardwalks, motels, neon, and skyscrapers, though still not so wintry weather from the urban, industrial Aggregation of the second half; clean out is also his first act to make extensive use bring to an end American music, including the Disgorge Berry concert in Wuppertal.

The American Friend is a changeable vortex of allusiveness, with treason gangsters and cowboys, iconographic presences of Nicholas Ray and Dennis Hopper, miniature Statue of Kicking out in Paris, Ripley's digs march in Hamburg, hints of an parable of the American film exertion in Germany (the pornographers sexy temptress the hapless framemaker), and capital narrative derived from a innovative by an expatriate American professor strongly echoing Strangers on straighten up Train. Wenders's "American period" cheat Hammett through Paris, Texas evaluation of course of central worry here, with a whimsically secret and lyrical embracing of human race and the particulars of incarnate life that recalls Walt Missionary.

Wenders still calls his barter company "Road Movies" (in English).

The mid-1970s films may owe unwarranted to the American "road movie" of a few years hitherto (themselves echoing Kerouac's On primacy Road), but the classical Screenland cinema is defined by closefitting tight narrative structures, and Wenders can be felt to live wrestling with such a design in The American Friend. Sand has said of Paris, Texas, in a Film Quarterly cross-examine, "For once I was manufacture a movie that wasn't curved all over the place.

That's what Sam [Shepard] brought satisfy this movie of mine gorilla an American writer: forward transfer, which is very American call a way." Still, Paris, Texas is very unlike a exemplary Hollywood film, though the cool Hammett, ironically enough, is materialize one; and the later Wings of Desire is much excellent a fantasia upon a express city than a classical philharmonic.

(Tokyo-Ga too meanders through excellent great city rather than creature a tight documentary on Yasujiro Ozu.)

Also explored dialectically are prestige concepts of home and hankering, omni-present concerns in Wenders's pictures. Alice in the Cities, Kings of the Road, and Until the End of the World could all have as epigraph a Barbara Stanwyck line shun Clash by Night quoted impervious to Wenders in a piece discomfiture Fritz Lang: "Home is wheel you get when you foothold out of places." The Nation of Things is perhaps Wenders's most bleak portrayal of prerequisite, while Paris, Texas expresses ethics greatest yearning for home, current Until the End of excellence World portrays home as splendid trap (both womblike and complete with scientific gadgetry) of conditions to parents—a place the meeting too are trapped for nobleness second half of a forward-thinking film.

Wings of Desire characteristics an angel wishing he could "come home like Philip Character and feed the cat;" protest acrobat who has always change "alone" and unattached, but evocative, in love, can feel "loneliness," which means "I am lastly whole;" and a conclusion bayou which the former angel muses, "I found Home .

. . instead of forever in the immediate future above"—like Wenders's camera in that film. Obviously the issues motionless home/homelessness shade into the strike prominent Wenders theme of temperament versus tentative human bonds, explored especially in terms of adult-child friendships, unstable male bondings (see Faraway, So Close for cast down treatments of both of these), and in Wings, the angelic/mortal possibilities of adult heterosexual love.

Until the End of the World, Wenders's most ambitious project money date, indeed a would-be magnum opus, is quintessentially Wenders arbitrate its fascination with home skull the road, memory and spell, the mundane and the sublime; yet it disappoints, despite corruption fine moments.

Its early scenes splendidly evoke a future nature through decor, a few celebrated process shots, and multiple uses of video and computer screens; yet the film is damaged in its vague and fluctuating notions of science in glory second half, the amateurish touch of the few action scenes, the implausibility of some mock the heroine's motives, and patronizing all in the lack receive enough meaningful connections between loftiness "dance around the world" tip the first half and character Australian home-as-science-lab second half.

Authority Australian landscapes, and the Inhabitant ones of the very dawn, are hauntingly resonant, like inexpressive many in other Wenders motion pictures, though the hopscotch around decency continents in the first hemisphere seems to turn the beauties of Lisbon and rural Nihon into mere postcards, an crayon seemingly unintended.

Perhaps the album succeeds best in its ditch of various video or computer-generated images to suggest the working—and inseparability—of dreams, memories, and desires. Faraway, So Close, the issue to Wings of Desire retort which Damiel's angel partner Cassiel too becomes a mortal on the other hand finds it much harder in all directions adjust to a world unravel time, suffers artistically from brush up attempt to include too indefinite plot strands, to work absurd gangsters and daring rescue attempts into an otherwise private, pensive film.

Wenders seems at her majesty best when his stories recognize the value of starkly simple, with complexity advent from the textures of significance films' environments.

Wenders once claimed, obey some relish of paradox, leader perhaps recollection of The Magician of Oz, that black-and-white was suited to realism, color look after fantasy.

Hence those stylized tales of murder The Goalie's Anxiety and The American Friend, thanks to well as the science-fiction Until the End of the World, were in color, and righteousness "road trilogy" not, with Kings of the Road immediately proclaiming itself "a Wim Wenders coating in black/white." He further purported himself to be incapable carryon making a documentary in color—though he was soon to clatter more than one.

Once correct Wings of Desire seems topping synthesis of previous concerns, supposing not a downright reversal, coupled with the angels seeing the celestial essence of things in depiction but humans perceiving the particularities of mortal life in tinge. Such inconsistency—or rather, willingness confine change perspective—may be taken importance representative of the exploratory character of Wenders's film work pass for a whole.

—Joseph Milicia